Patricia Kopatchinskaja | |
|---|---|
 Kopatchinskaja in 2012 | |
| Background information | |
| Born | March 1977 (age 47) Chișinău, Moldavian Soviet Socialist Republic, Soviet Union |
| Genres | Classical music |
| Instrument | Violin |
| Website | patriciakopatchinskaja |
Patricia Kopatchinskaja (born March 1977) [1] is a Moldovan-Austrian-Swiss violinist.
Kopatchinskaja was born in Chișinău, in the Moldavian Soviet Socialist Republic (now Moldova). She comes from a family of musicians. Her parents were both with the state folk ensemble of Moldova: her mother, Emilia Kopatchinskaja, was a violinist, and her father, Viktor Kopatchinsky, was a cimbalom player. While her parents were on concert tour through the former Eastern bloc, she grew up with her grandparents. [2] [3] She started playing the violin at age 6. [4]
In 1989, the family fled to Vienna. [5] Kopatchinskaja entered the University of Music and Performing Arts, Vienna at age 17, [2] where she studied musical composition and violin. From age 21 to 23, she finished her studies in Bern, [2] at the Musikhochschule, where her teachers included Igor Ozim. Kopatchinskaja lives in Bern, and has a daughter.
In 2016, Kopatchinskaja wrote an editorial for The Guardian outlining her approach to music and her career and her preference for playing music "from the borders" of the repertoire instead of the standard repertoire of "Bach, Beethoven, Brahms, Bruckner, and Bruch." [6] She later said, "Standard pieces should be used only as exceptional, rare elements in programmes. There are enough recordings out there already.… The classical music industry is so far behind. If someone does anything that’s even just a tiny bit different, it becomes a huge, heated discussion." [7]
In 2014, the British Royal Philharmonic Society gave Kopatchinskaja one of its annual Music Awards in the instrumentalist category, calling her an "irresistible force of nature: passionate, challenging and totally original in her approach". [8]
Composition has always been part of Kopatchinskaja's activity. Her more recent works are published by Birdsong and have been played by Sol Gabetta, Vilde Frang, Nicolas Altstaedt, and the Trio Gaspard, among others.
Kopatchinskaja has played with most of the important European orchestras including Vienna, Berlin and London Philharmonic.[ citation needed ] She regularly plays in Japan and Australia and recently also extended her activity to the United States, South America, Russia and China. She has ongoing collaborations with conductors including Teodor Currentzis, Péter Eötvös, Iván Fischer, Edward Gardner, Heinz Holliger, Vladimir Jurowski, Andrés Orozco-Estrada, Kirill Petrenko, Sir Simon Rattle and François-Xavier Roth.
Kopatchinskaja's experience as a leader of ensembles and chamber orchestras includes a tour with Britten Sinfonia, repeated tours with Mahler Chamber Orchestra and Australian Chamber Orchestra and being an artistic partner of the Saint Paul Chamber Orchestra since 2014. [9] Presently she is an artistic partner of the Camerata Bern. She has organised several staged concert productions, including "Death and the Maiden" with the Saint Paul Chamber Orchestra, "Bye-Bye Beethoven" with the Mahler Chamber Orchestra, "Dies Irae" with Lucerne Festival Alumni, and "War and Chips" and "Time and Eternity" with Camerata Bern.
From 2003 to 2005 Kopatchinskaja organised the Rüttihubeliade festival in the Swiss Alps. In June 2018, she was the music director of the Ojai Music Festival in California. [10]
Regular chamber music partners include cellist Sol Gabetta, clarinettist Reto Bieri and the pianists Joonas Ahonen, Markus Hinterhäuser, Polina Leschenko and Anthony Romaniuk. In April 2016, Kopatchinskaja performed with Anoushka Shankar at a concert in Konzerthaus Berlin, Germany. They played Raga Piloo , which Ravi Shankar composed, performed, and recorded as a duet with Yehudi Menuhin on the 1968 album West Meets East, Volume 2 .
Kopatchinskaja has collaborated with Il Giardino Armonico, the Akademie für Alte Musik Berlin, MusicAeterna Perm, the Orchestre des Champs-Élysées, the Orchestra of the Age of Enlightenment under the direction of Giovanni Antonini, René Jacobs and Philippe Herreweghe. She also has performed with Sir Roger Norrington and Roy Goodman.
Kopatchinskaja has been outspoken in her support of new works and living composers, as well as works not considered part of the standard violin repertoire. She has performed and recorded works by Luca Francesconi, Francisco Coll García, Mark-Anthony Turnage, Sanchez-Chiong, Stefano Gervasoni, Simone Movio, Michael Hersch, Esa Pekka Salonen, Péter Eötvös, Heinz Holliger, and Michel van der Aa. Her "Time and Eternity" program with Camerata Bern, recorded for Alpha Classics, featured music by John Zorn, Ikonnikow, Tadeusz Sygietynski, Machaut, and Bach, along with Karl Amadeus Hartmann's Concerto Funebre.
Kopatchinskaja uses the voice in several compositions, including John Cage's Living Room Music , Jorge Sanchez-Chiong's Crin, Michael Hersch's Duo for violin and cello Das Rückgrat berstend, Heinz Holliger's Das kleine Irgendwas, her own cadenza for György Ligeti's Violin Concerto, and Otto Zykan's Das mit der Stimme.
In 2017, Kopatchinskaja performed the voice part ( Sprechgesang ) in Arnold Schoenberg's Pierrot lunaire in the USA [11] and since 2018 has performed the piece many times with, among others, members of the Berlin Philharmonic, the Montreal and Göteborg Symphonies, and her own ensemble.
In 2018–19, Kopatchinskaja and some friends made a film based on Kurt Schwitters's Dadaistic nonsense poem "Ursonate" (1932). It has been shown at several festivals. [12]
Kopatchinskaja plays a violin by Giovanni Francesco Pressenda (Turin) in 1834, [13] which The Strad's Dennis Rooney called "a very colourful-sounding instrument whose viola-like quality lent her playing exceptional tonal interest". In 2010, she briefly played the 1741 "ex-Carrodus" violin by Guarneri del Gesù, on loan from the Austrian National Bank but had to give it back because of unresolvable problems with Swiss customs authorities. In period-instrument environments, she uses a violin by Ferdinando Gagliano (Naples, ca. 1780, mounted with a lowered bridge and gut strings) and appropriate bows.
Kopatchinskaja has given first performances of numerous works, e.g.:
Richard Carrick, Violeta Dinescu, Michalis Economou, Heinz Holliger, Ludwig Nussbichler, Jorge Sánchez-Chiong, Ivan Sokolov, and Boris Yoffe have also written works for her.[ citation needed ]
| released | pieces | collaborators | publisher/Nr. | type |
|---|---|---|---|---|
| 1998 | ein klang 1996–1998
|
| Einklang Records 001/002 | Double-CD |
| 2001 | An Introduction To Dmitri Smirnov
|
| Megadisc 7818 | CD |
| 2001 | Nikolai Korndorf
|
| Megadisc 7817 | CD |
| 2004 | Boris Yoffe, 32 poems from the quartet book |
| Antes Edition, Bella Musica 319192 | CD |
| 2006 | Jubilee-CD Classics (50 years DRS 2)
| Mihaela Ursuleasa (piano) | Swiss Radio DRS2, CDL1710 | 10 CDs |
| 2006 | Johanna Doderer
|
| Edition Zeitton des ORF 2009336 | CD |
| 2007 | Boris Yoffe, Musical Semantics
|
| Megadisc MDC 7798 | CD |
| 2008 | Fazıl Say 1001 Nights in the Harem
|
| Naïve, V 5147 | CD |
| 2008 | Gerd Kühr
Gerald Resch
|
| col legno, WWE 1CD 20279 | CD |
| 2009 | Beethoven: Complete works for violin and orchestra
|
| Naïve, V 5174 | CD |
| 2009 | Ludwig van Beethoven
|
| Naïve, V 5146 | CD |
| 2010 | Patricia Kopatchinskaja: Rapsodia – Music from my homeland
|
| Naïve, V 5193 | CD |
| 2012 | Three Hungarian violin concertos
|
| Naïve, V 5285 | Double-CD |
| 2013 | Two Russian violin concertos
|
| Naïve, V 5352 | CD |
| 2014 | Quasi Parlando
|
| ECM New Series 2323 | CD |
| 2014 | Galina Ustvolskaya
|
| ECM New Series 2329 | CD |
| 2015 | Giya Kancheli
|
| ECM New Series 2442 | CD |
| 2015 | Take Two Duets from 1000 years of musical history Works by Gesualdo, De Machaut, Gibbons, Giamberti, Biber, Bach, De Falla, Milhaud, Vivier, Martinu, Cage, Holliger, Sotelo, Dick, Sanchez-Chiong and from Winchester Troper |
| Alpha Classics | CD |
| 2016 | Pjotr Iljitsch Tschaikowski
|
| Sony classical | CD |
| 2016 | Robert Schumann Complete symphonic works Vol.4
|
| Audite | CD |
| 2016 | Faradj Karaev
|
| Paladino Music | CD |
| 2016 | Robert Schumann Complete symphonic works Vol.5
|
| Audite | CD |
| 2016 | Franz Schubert Death and the Maiden and also other works by Gesualdo, Dowland, Nörmiger, Kurtag etc. |
| Alpha classics | CD |
| 2018 |
|
| Alpha Classics | CD |
| 2018 | Michael Hersch End Stages, Violin Concerto
|
| New Focus Recordings fcr 208 | CD |
| 2019 | Time and Eternity
|
| Alpha Classics alpha545 | CD |
| 2020 | "WHATS NEXT VIVALDI?"
|
| Alpha Classics alpha624 | CD |
| 2020 | "PLAISIRS ILLUMINÉS"
|
| Alpha Classics alpha580 | CD |
| 2021 | "PIERROT LUNAIRE"
|
| Alpha Classics alpha722 | CD |
| 2021 | "PORTRAIT FRANCISCO COLL"
|
| Pentatone PTC 5186951 | CD |
| 2021 | "SOL & PAT"
|
| Alpha Classics alpha 757 October 2021 | CD |
The Violin Concerto in D major, Op. 61, was written by Ludwig van Beethoven in 1806. Its first performance by Franz Clement was unsuccessful and for some decades the work languished in obscurity, until revived in 1844 by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn. Joachim would later claim it to be the "greatest" German violin concerto. Since then it has become one of the best-known and regularly performed violin concertos.
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